The story exists in two forms. The first was published in the Amer­ ican journal Lippincott’s Monthly Magazine in July 1890; the next year an expanded version came out in London as a book, after the pub­ lication of maxims as the ‘Preface5 in the Fortnightly Review in March 1891. Wilde called it cmy first long story5, formally Knking it with the short stories he had written for journals during 1887. It displays both the precision required of the short-story form, and the discurs­ iveness permitted by length. Many of the themes entertained earlier recur: the relationship between the artist and his model (cThe Model Millionaire5); the relationship between art and morality, or, put dif­ ferently, between form and content (‘The Sphinx without a Secret5); the question of influence, criminal propensity, and determinism (‘Lord Arthur Savile5s Crime5); the relationship between empiricism and the occult (‘The Canterville Ghost5). Characteristic of the perspectival reversals which Wilde deployed in the tales of Lord Arthur Savile’s Crime and Other Stories, he presents in The Picture o f Dorian Gray a story which begins to be about the relationship between an artist and his model, and turns into a story about the relationship between art and its model.